A Review: Rhodes-Pitts' Harlem is Nowhere
In Sharifa Rhodes-Pitts' Harlem is Nowhere, the author provides a look at Harlem from the perspective of reporter, the reported, outside observer, neighbor, foreigner, Harlemite, and historian all at once. The author's painstaking and impressive research shines through to produce the final product-- a tale of the mosaic of Harlem, formed by its citizens, its history, and possibly its future begotten by said citizens (past and present) and funneled through this woman. She writes not as representative but relayer-- she is simply passing on the information. Rhodes-Pitts offers historical background and present struggle in an intriguing combination that makes this tale of Harlem a unique and valuable one.
The obstinate thread that weaves itself through this work is the query " What is Harlem? Who is Harlem?" Rhodes-Pitts spends some time early on in the work offering various definitions of the physical space. She notes the boundaries of the geography, “Harlem is blocked in,” (6). While initially it may seem she is having a moment of claustrophobia, she is actually relating that Harlem is one and its own. It is unique. It is distinct. Throughout her work, the author seems to continuously be reminding her audience that Harlem is a cacophony of voices. No one person is representative of the entire experience.
Rhodes-Pitts uses the interesting technique of collective voice. Upon first glance, the reader may view this as leaning too heavily on the words and creativity of others--there seems to be just as much text in block quotes or literal quotes as that of her own-- but bear with her. As one reads, the author's strategy produces the intriguing and perhaps surprising feeling of being alongside the author in this journey of discovery of hers. She does this purposefully, upon analyzing writer James Baldwin and being mindful of what she finds. In her piece "Harlem Dream Books" Rhodes-Pitts discusses a "move" she hypothetically dubbs "the Jimmy." She speaks of its cinematic counterpart, the technique "wherein the camera operators pan out by starting with a tight spot and then zoom out to a a wide view while the lens remains focused on a point in the distance." She goes on to say
As early as my high school lessons... I had absorbed the platitude that the task of the writer was to glean universal lessons from specific and personal experiences. But in Baldwin, I learned the particular peril of that path for a black writer. As Baldwin admits in his "Autobiographical Notes," I have not written about being a Negro at such length because I expect that to be my only subject, but only because it is the gate I had to unlock before I could hope to write about anything else. (110)
Baldwin is saying that he cannot escape writing about what it is to be Negro and/or a Negro writer, even when writing with full intentions of focusing on some other unrelated topic. In fact, not only can he not escape it, but it defines him. He has accepted it and come to celebrate it. Curiously, Rhodes-Pitts pulls "the Jimmy" and makes this not about him specifically but all black writers, up to and including herself. Thus, being mindful of that peril, she makes a point not to become a spokesperson. She lets her friends, predecessors, and strangers do the talking.
Rhodes-Pitts achieves a narrative to which anyone can relate because at some point or another we've all been the reporter, the reported, outside observer, neighbor, foreigner, local, and/or historian. Her work serves as a testament to those unsure of their endeavors, and is thusly an essential read.
~517 without block quote